Within the literature and film sciences there are clear models of storytelling and methods of creating a good story. In the game industry it's more difficult because the games are often non-linear, and games are a less established medium than the other two. With this study our purpose was to examine game developers and methods they used when creating a Videogame, with focus on storytelling. Four interviews were made with representatives from four different Videogame companies in Sweden. The information from the interviews was put in relation to theories regarding the structure of Videogames and an established model for creating Videogames.

Within the literature and film sciences there are clear models of storytelling and methods of creating a good story. In the game industry it's more difficult because the games are often non-linear, and games are a less established medium than the other two. With this study our purpose was to examine game developers and methods they used when creating a Videogame, with focus on storytelling. Four interviews were made with representatives from four different Videogame companies in Sweden. The information from the interviews was put in relation to theories regarding the structure of Videogames and an established model for creating Videogames.

When a Videogame is being played it is rarely a static experience. A Videogame can consist of various systems that affect each other in an unpredictable manner which makes the player experience unique for every player.Throughout the years developers of games have used random chance in a games programming to affect the user experience. Sometimes it even goes so far as to having entire games based around the idea of the game itself randomly generating content for a player to experience.This paper will examine randomly generated content in Videogames. It will take examples from existing ones and describe how they use it, and reason regarding the benefits and drawbacks of having random chance affect the user experience.The paper will step-by-step examine the purpose of various commonly occurring objects and features of a typical dungeon in an adventure Videogame. It will reason around their purpose, and figure out ways to use them in a structured  manner so that we can guarantee that there will be no deadlocks that the player can't overcome.This will range from the environments in rooms, the shape of them, to the objects and creatures that inhabit them, such as locked doors, keys, and bosses.

This study examines the in-game encyclopaedia Codex as it appears within the Videogame Mass Effect. The purpose of this study is to analyse the Codex with emphasis on how the reading process is affected by the Videogame medium. In this regard the study seeks to uncover what characterises the Codex as a fictional encyclopaedia, what it entails and how it interacts with the rest of the game. The theoretical basis of this study is derived from a combination of the writings of Wolfgang Iser concerning the process of reading, Jesper Juul's writings on the relationship between games and narratives, and the concept of intermediality as discussed by Hans Lund and Jørgen Bruhn.      This study is based on a close examination of the PC and Playstation 3 versions of the Videogame Mass Effect, created by Bioware, with particular emphasis placed on the Codex. Mass Effect is a science fiction third-person shooter and RPG set in a future where mankind has begun interacting with aliens civilizations and colonising new planets.

This study examines the players experience, environments and objects in the Videogame World of Warcraft. The purpose of this study is to get more knowledge about the players experience in the game with the focus on factors contributing to some form of immersion or/and presence. The data for this study were gathered using interviews as method and then analyzed with relevant literature in the chosen field. A game content analysis and a group of questions are tested with the results of the study which is presented at the end in with an analytic discussion. .

The process of producing a video game is one that goes through a number of phasesduring the span of the entire production. One of these phases is the concept design phase,which is part of the pre-production. This phase is an important aspect of the productionas it is where all the different parts and ideas concerning the game are brought togetherto define what the game is going to be. Though a clearly important part of the Videogame production surprisingly little research have been done on the subject of conceptdesign. This thesis presents what place concept design has in the overall game productionand how the design process is handled.

This paper considers the roles of critics, newspapers and magazines, in the process ofdescribing computer games and video games as either technical objects or products intendedfor entertainment.The making and ?using? of computer games and Videogames originates in small groups ofpeople possessing a lot of knowledge in computers, during a time when these kinds of deviceswere very expensive. But now, the gaming culture has grown and almost anyone in oursociety can own and play a video game. For that reason, one could ask the questions ?are thegames and the people who plays them still parts of a ?technical culture??? and ?do we needsome kind of prior knowledge to fully understand the Videogame critics??The critics represent ?the official idea? of what a Videogame is, how it works and if it is worthplaying.

A current issue today is to try to implement creative design as a way to solve wicked problems in scientific contexts such as HCI. Since the problems are wicked, they have no given solution which makes the traditional methods inadequate. In these cases, creative design can be an alternative. Creative design is not used in scientific contexts because it is viewed as something unaccountable.In this essay we argue that creative design not necessarily have to be unaccounted. We discuss various views of creative design and translate theory to a practical context.

A current issue today is to try to implement creative design as a way to solve wicked problems in scientific contexts such as HCI. Since the problems are wicked, they have no given solution which makes the traditional methods inadequate. In these cases, creative design can be an alternative. Creative design is not used in scientific contexts because it is viewed as something unaccountable.In this essay we argue that creative design not necessarily have to be unaccounted. We discuss various views of creative design and translate theory to a practical context.

The purpose of this study is to investigate in what extension students experience that computer and Videogames affect them. I have chosen to focus on the physical, mental and social affect that this activity might bring them. I have also examined how much time the students spends in front of the computer or the Videogame and in which social context they play.The method I have chosen to use is a quantitative opinion poll which I used in three classes of the later junior high and I have also conducted five qualitative interviews.The conclusions I have drawn from this investigation are that computer and Videogames affects teenagers both physically and mentally. Physically the affects of playing Videogames mostly can be derived to the physical inactivity they expose themselves to. The students themselves did not experienced any positive physical affects from their playing.Amongst the mental affects that stood out the most I recognized the social training that online gaming provided and also the intellectual stimulation that certain games offered the player.